HutchFan

NP: Pepper Adams - The Master... (Muse, 1980) In my personal pantheon of bari-sax players, there are three who stand well above the others. They are Harry Carney, Pepper Adams, and John Surman.

More hosannas for Rowles' & Cohn's Heavy Love! Earlier: Horace Silver Quintet Plus J.J. Johnson - The Cape Verdean Blues (Blue Note) Everybody on this record sounds great -- but tonight I was really locked in on Roger Humphries' drumming. Fan-stinkin'-tastic.

On the way into work this AM: Elvin Jones - The Main Force (Vanguard)

On to Disc 2.

On the way home from work: Disc 1

Yeah, the Jazztet quickly came to mind for me too. How about James Moody? I'm thinking of his mid- and late-50's stuff in particular, much of it arranged by Quincy.

Tito Puente & Eddie Palmieri - Masterpiece / Obra Maestra (RMM) Eddie Palmieri - Sueño (Intuition)

The Complete 1932-1940 Brunswick, Columbia, and Master Recordings of Duke Ellington and His Famous Orchestra (Mosaic) Disc 11 Sublime music.

I know the Grupo Folklorico y Experimental Nuevayorquino album, but not the other Libre record. Will investigate. . . . Thanks!

I wasn't familiar with Libre until your post, soulpope. Listening to some cuts now via YT. Thanks for the heads-up! What a stellar line-up. Sounds great!

Superb Mary Lou!

Disc 3

Larry Coryell backed by Oregon (minus Paul McCandless): The Restful Mind (Vanguard, 1975)

Yes. Really good stuff!

I'm scratching my Oregon itch. It shows up every once in a while. I've been listening to their second and third albums, Distant Hills and Winter Light:

Patrick, I have Solstice. I think it's wonderful. To be honest, everything that I've heard from Kimbrough has been excellent. That said, style-wise, Kimbrough is not someone I'd associate with Thelonious. I guess that's one of the reasons that this set sounds intriguing.

Thanks for those recommendations, Peter. I've enjoyed Hank Jones' Muse recordings -- both Bop Redux and Groovin' High -- but I don't know any of those others. One more that I really like (but didn't mention before): Hanky Panky (East Wind) with Ron Carter & Grady Tate

Outstanding trio with Rufus Reid & Freddie Waits.

Very cool! Sharing music with folks who might be receptive to it & building up lots of positive karma in the process. True "jazz evangelism" -- in the best sense of the word. Both Walter Sobchak and I salute you!

Lucky friend!

Absolutely. Bluesette and Compassion are my my desert-island Hank Jones discs. I prefer the Jones-Duvivier-Dawson combo over any of the more well-known Great Jazz Trio configurations. (I love Hank Jones, and I love Tony Williams. But I'm not a fan of Hank Jones and Tony Williams together. To me, it's a mismatch -- like putting a massive V-8 engine in a nimble roadster. . . . Actually, the GJT combo that I like best is the one with Mads Vinding & Billy Hart. I think those two records on Timeless probably come closest to Bluesette and Compassion.)

Yeah. I agree with you, Steve. I wonder though if Liebman's (and also Braxton's) proximity to Coltrane -- coming right after him generation-wise -- made Coltrane's HUGE, seemingly inescapable influence seem even greater than subsequent generations would find it. . . . Comparable maybe to the way that someone like Brahms had to wrestle with Beethoven's influence in ways that Schoenberg (and others after him) didn't have to -- simply because the later generations had more time to discover ways to deal with that huge "influence shadow" and find new ways to get out from under it. Just thinking out loud here. . .

Hank at the top of his game! ... And Duvivier and Dawson are right there with him. and

I was just reading that too. The whole interview is great. Jim, if you haven't read Liebman's book, What It Is: The Life of a Jazz Artist, you should. It's fascinating -- even if you don't really groove to his music. Lieb's just HONEST. No bullshit. And articulate. Even when you don't necessarily agree with him, you can tell he's thought things through. What more could you want from an autobiography? My son is a sculptor, and I gave him the book and said, "I'm not a artist, and I'll never know what it's like to live the life of an artist. But this book strikes me as a very honest account of what it's like to be one." Later on, I met Lieb and told him that I'd read his book and then given it to my aspiring-artist son. I could tell that he liked that I'd passed it along.